Wikipedia:WikiProject Deletion sorting/Nigeria

This is a collection of discussions on the deletion of articles related to Nigeria. It is one of many deletion lists coordinated by WikiProject Deletion sorting. Anyone can help maintain the list on this page.

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Nigeria

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Obafela Bank-Olemoh (edit | talk | history | protect | delete | links | watch | logs | views) – (View AfD | edits since nomination)
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No independent, significant, reliable source about this person even after google searching. Gabriel (……?) 23:05, 3 August 2024 (UTC)[reply]

Educational Basketball (edit | talk | history | protect | delete | links | watch | logs | views) – (View AfD | edits since nomination)
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Disputed draftification, whcih leaves AfD as the route for articles with insufficient referencing and failing WP:GNG. 🇺🇦 FiddleTimtrent FaddleTalk to me 🇺🇦 20:45, 2 August 2024 (UTC)[reply]

African Entertainment Awards USA (edit | talk | history | protect | delete | links | watch | logs | views) – (View AfD | edits since nomination)
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The subject does not meet the general notability guide nor any criteria I am aware of. The sources therein are either non-reliable, or press releases. Best, Reading Beans 14:36, 1 August 2024 (UTC)[reply]

Duke Concept (edit | talk | history | protect | delete | links | watch | logs | views) – (View AfD | edits since nomination)
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This is a company therefore GNG/WP:NCORP requires at least two deep or significant sources with each source containing "Independent Content" showing in-depth information *on the company*. "Independent content", in order to count towards establishing notability, must include original and independent opinion, analysis, investigation, and fact checking that are clearly attributable to a source unaffiliated to the subject. The sourcing relies entirely on interviews with people connected with the company, announcements, or mentions in passing due to their involvement in organising events, those sources do not contain any in-depth "Independent Content" about the company. HighKing++ 17:14, 31 July 2024 (UTC)[reply]

Hi- just wanted to contribute as the writer of the article. I wrote it after reading about the company's focus on work in the black diaspora, which aligned with a wiki project I've been involved with on and off. I did look closely at the sources for this article, because I know the ones I was using to establish notability (references 1-3) have interview content within them, but in looking at each article overall it seemed that there was significant content outside of the interview quotations, and that that content contained independent analysis- including looking at the wider industry context they are operating in, with statistics etc included in that. I also looked at the publications and writers to make sure they were both independent from the subject and engage in fact checking as part of their editorial process. I know 100% interview content does not establish notability, but I feel it is fairly uncommon for independent articles on companies or the people behind them not to structure their articles around a fair amount of interview content. The fact the company were also included in a way that was more than a passing mention in other major stories on Afrobeats, like the Rolling Stone one, suggested to me notability within the Afrobeats industry. Anyway, I just wanted to engage and outline why I used the sources I did. Thanks Thebookstamper (talk) 19:38, 31 July 2024 (UTC)[reply]
  • Can you point to specific paragraphs in the sources that contain in-depth "Independent Content" about the *company* that you believe meets the criteria for establishing notability? HighKing++ 18:03, 2 August 2024 (UTC)[reply]
    Sorry if this is a bit messy, I'm doing it on the fly, so haven't gone through all the sources. Appreciate it might not be the most forensic exercise because of that... Thanks for your time.
    In the Pulse article:
    (Citing these as examples of content about the company, not directly generated by something the company has said, or paraphrasing. They may reference something said by the company, but as I see it are writing their own analysis around that. Or the company is then responding to a point made by the publication.)
    Section: ‘The show which became a lesson’
    Coupled with the rise of social media, that show contributes to how Ugeh now perceives social media as a marketing tool. These days, his team studies social media based on demographics. Some artists are stronger on Facebook than Twitter or TikTok while others are bigger on Instagram. Some artists are also big on the four. An artist’s audience determines social media marketing and engagement is a key metric for measurement. While Ugeh admits that social media has aided event companies, he admits that social media phenomena should be taken with a pinch of salt.
    Section: ‘What’s the process of organising a show at Duke Concept’
    Sometimes, unplanned artists also approach the team through their booking agents The team then uses a data-driven approach to see where the artists can sell and whether Duke Concept would be willing to tour those places. These days, the events happen in mid-range markets to big markets. It’s unlikely that Duke Concept would take an Afrobeat artist to a small and predominantly white market like Milwaukee, Wisconsin at this time [...]
    It makes sense. The attitude of a city like Boston to touring and nightlife would be much different to that of smaller markets. The pulse of young attendees also matters as much as their priorities. It's more likely that a 21-year-old, who was bred in New York would be willing to spend $200 on a ticket than his equivalent in a smaller market. Ugeh offers it from a perspective of comparative analysis, not with factual totality. As much as urban culture influences pop culture, the rising state of Afrobeats suggests that the racial spread of America must be taken into consideration while planning an event for an Afrobeats artist.
    Section: 'Pricing'
    (In response to Ugeh referencing fair pricing set by Duke Concept):
    But pricing also depends on the format of the venue. As much as Duke Concept might charge $250 for front row seats in a seated theatre, the people at the back might pay as low as $30. While ticketing is already booming, secondary ticketing has grown a life of its own. Market Watch reports that, “The global Secondary Tickets market size is projected to reach USD 2755.5 million by 2027, from USD 1502 million in 2020, at a CAGR of 9.1% between 2021-2027.” Ugeh believes that there is nothing anybody can do about it. He believes that the best way to fight it is to encourage people to purchase their tickets early enough, discourage hoarding of tickets and to always make tickets available at the venue.
    WMV article:
    (Including this para as an example of referencing another source- an interview given to a different publication, not their own):
    The Nigerian moved to New York City with his family a decade ago and shortly after; launched the company. In the early days tried to do an Afro-Caribbean showcase with headliners Timaya and Mavado in 2014, he told Pulse it was a “flop”. He references that show as growing pains but one lesson he learned was that; Caribbean events are marketed differently from African events- mainly Afro-music require digital promotions while at the time reggae- dancehall events required linear advertising, along with street “posters”and guerrilla marketing.
    Rolling Stone:
    Now, there’s plenty more evidence that Afrobeats is connecting in the U.S. Last October, Burna Boy became the first African solo artist to headline the Hollywood Bowl; this year, he’s slated to play Madison Square Garden, the first headlining performance for a Nigerian musician at the storied New York venue. Duke Concept, the production company behind the shows, was founded by Osita Ugeh in 2013, two years after he moved to the United States from Nigeria. The business initially had to be scrappy, producing concerts at small nightclubs and DIY warehouses — some of the only venues available to Afropop artists at the time.
    Today, things look much different. In 2018, Duke Concept secured a partnership with Live Nation, and last year spearheaded the U.S. tours of African acts such as Wizkid, Omah Lay, Olamide, Adekunle Gold, and Diamond Platnumz.
    Billboard:
    Osita “Duke” Ugeh, who, as CEO of promoter Duke Concept, has been booking U.S. tours for African acts like Burna for the last decade. (He secured Burna’s first sold-out U.S. show in April 2019 at Harlem’s Apollo Theater — where he again made history as the first Afrobeats artist to sell out the venue.) But as Ugeh knows well, Burna’s arrival at the Garden was far from preordained. Since founding Duke Concept in 2013, he has struggled to get artists like him into big rooms. Now, as Afrobeats continues to expand its reach, Ugeh says he and his 15-person team are starting to see that reflected in the kind of venues the genre’s artists can play: He has gone from booking two to three U.S. tours for Afrobeats artists a year to booking two to three a month, with Davido, Tiwa Savage, Rema and more scheduled for later this year.
    When his “One Night in Space” show at the Garden was announced in December, Duke Concept launched a joint venture with Live Nation, expanding upon a relationship that began in 2018, when Burna himself approached the company about a tour deal. He insisted on bringing Ugeh along; subsequently, UTA’s Christian Bernhardt, Burna’s touring agent, introduced Ugeh to Live Nation’s director of touring, Andy Messersmith. Thebookstamper (talk) 19:36, 2 August 2024 (UTC)[reply]
  • Delete. Have to agree with the nom that none of the sources that cover this subject in detail are sufficiently independent; w/r/t Thebookstamper’s argument that the articles which have interview content have non-interview content as well, I would note that just because a statement isn't in quotation marks doesn't mean it was a journalist's own independent writing; it may be a paraphrase of what the subject said during the interview, or information provided by the subject in a press kit or such. Mach61 09:14, 2 August 2024 (UTC)[reply]
Base One (rapper) (edit | talk | history | protect | delete | links | watch | logs | views) – (View AfD | edits since nomination)
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I found no significant coverage. The only three references in the article are interviews, with two of them being on unreliable sources. SL93 (talk) 02:24, 31 July 2024 (UTC)[reply]

Road 2 Soulwave (edit | talk | history | protect | delete | links | watch | logs | views) – (View AfD | edits since nomination)
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Fails WP:NSONG, nothing much to add. Apart from the several unreferenced sections, this article makes no credible claim of importance or significance for the song. The musician himself is non-notable too. Vanderwaalforces (talk) 16:14, 30 July 2024 (UTC)[reply]

Jasën Blu (edit | talk | history | protect | delete | links | watch | logs | views) – (View AfD | edits since nomination)
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Nothing in this article makes the subject inherently notable, literally. Fails WP:NMUSICIAN or WP:GNG. The sources are run of the mill coverages and PRs for singles and so on. The few others that aren't PRs are promotional puff pieces. Vanderwaalforces (talk) 16:09, 30 July 2024 (UTC)[reply]

The Plug (edit | talk | history | protect | delete | links | watch | logs | views) – (View AfD | edits since nomination)
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This is a company therefore GNG/WP:NCORP requires at least two deep or significant sources with each source containing "Independent Content" showing in-depth information *on the company*. "Independent content", in order to count towards establishing notability, must include original and independent opinion, analysis, investigation, and fact checking that are clearly attributable to a source unaffiliated to the subject. I'm unable to identify any references that meet the criteria for establishing notability. The references to date appear to either be PR or announcements or rely entirely on information provided by the company (interviews), there is no in-depth "Independent Content" about the *company*, failing ORGIND. HighKing++ 14:35, 25 July 2024 (UTC)[reply]

Relisted to generate a more thorough discussion and clearer consensus.
Relisting comment: Already at AFD, so Soft Deletion is not an option.
Please add new comments below this notice. Thanks, Liz Read! Talk! 19:10, 1 August 2024 (UTC)[reply]

GoldMyne TV (edit | talk | history | protect | delete | links | watch | logs | views) – (View AfD | edits since nomination)
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Non notable online TV that received only passing mentions in all sources referenced. The claim of winning award does not improve its notably because the award categories are clustered with other supposed winners. Other available sources not cited in the article only give passing mentions in reference to interviews conducted by the subject. But those do not count for notability. Ednabrenze (talk) 08:04, 22 July 2024 (UTC)[reply]

Delete Another of my favorite constant topics which come up here often; Yet Another Non-Notable Nigerian YouTube Music Show®️. Nate (chatter) 17:08, 22 July 2024 (UTC)[reply]

Keep: The Tv has been awarded 3 times by a notable award ceremony Legendarycharles (talk) 07:24, 27 July 2024 (UTC)[reply]
I also do not understand what the nominated meant by The claim of winning award does not improve its notably because the award categories are clustered with other supposed winners. because winning awards for three years is an evidence of notability. Best, Reading Beans 09:53, 29 July 2024 (UTC)[reply]

Relisted to generate a more thorough discussion and clearer consensus.
Relisting comment: We may be nearing a consensus that these awards establish notability, but it would be useful if a few more voices could weigh in.
Please add new comments below this notice. Thanks, Malinaccier (talk) 14:32, 29 July 2024 (UTC)[reply]

Nigeria proposed deletions

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Nigeria miscellany for deletion

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